Daniel Moody, countertenor, sang a difficult, very difficult piece, Dream of the Song by George Benjamin, with exceptional diction and a voice which had many colors, not often heard in a countertenor. He had poise; he told you what it meant – it was just terrific.

Countertenor Daniel Moody...gave a heroic vocal edge to Rinaldo that compensated for the plot twists that make the knight appear less than heroic. Unlike many countertenors, Moody's voice grows stronger and brighter as it ascends. He may help to create a new operatic vocal category: Helden Countertenor.

Daniel Moody was the only countertenor among the finalists [of the Madison Early Music Festival Handel Aria Competition], and gave evidence that an exciting career may be just around the corner. In a recitative and aria from Rodelinda, Moody delivered a sustained note that was all but mesmerizing in its intensity and changing colors as he shaped it, and the stand alone aria “Se piu non t’amo” was full bodied and assertive.

Morris inspired absorbing performances from young Fellows of the Tanglewood Music Center, including…the voice of Daniel Moody, a countertenor, [which] soared at the riveting moment when the dead boy’s voice is miraculously heard.

Countertenor Daniel Moody sang with a sweet, melancholy sound in Jehan Chardavoine’s setting of Ronsard’s Ode à Cassandre, a celebrated version of the ‘Carpe diem’ poetic theme going back at least to ancient Rome.

The performers are all fine—singing wonderfully and acting with eloquence and restraint. They include…Daniel Moody, as the dead child’s unseen spirit, whose high countertenor floats with piercing beauty above the voices of the Chorus.